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Independent Woman in Postcolonial Indonesia: Rereading the Works of Rukiah

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Independent Woman in Postcolonial Indonesia: Rereading the Works of Rukiah Southeast Asian Studies, Vol. 49, No. 2, September 2011 Independent Woman in Postcolonial Indonesia: Rereading the Works of Rukiah Yerry Wirawan* This paper discusses the strategic essentialism of gender and politics in modern Indonesia by rereading literary works of Siti Rukiah (1927–96): her first novel, Kedjatuhan dan Hati (1950), and her collection of poems and short stories Tandus (1952). It locates Rukiah’s position in modern Indonesian politics and the literary world to understand how she crafted her literary skills. It highlights the importance of her hometown, Purwakarta, as the locus of her literary development. It argues that as a representative female writer of the time Rukiah offered important contri- butions to the nation’s consciousness of gender equality and liberation from the oppressive social structure. Keywords: Rukiah, Purwakarta, female author, postcolonial literature, Indonesia Introduction During the early years of Indonesian independence, the young generation (Pemoeda) played an important role in the nation’s literary world. Writing was a medium to express the restlessness and rebellion of the young generation (see Teeuw 1967; Soemargono 1979). Writers of the period were collectively known as the “1945 Generation,” and Chairil Anwar (1922–49) was the towering figure of this generation—his poems were praised for the prose he formulated to express a sense of courage and boldness. Siti Rukiah (1927–96) was a little younger than Anwar, yet she produced exceptional works. She, too, wrote a number of poems during this period, and in 1948 she was a correspon- dent for Poedjangga Baroe (New writer), a Batavia/Jakarta-based avant-garde literary magazine. She was one of the authors of this generation who productively published literary works in postcolonial Indonesia.1) * Department of History, Sanata Dharma University, Mrican, Gejayan, Yogyakarta, Indonesia e-mail: [email protected] 1) See Siti Rukiah, Kedjatuhan dan Hati (1950); and Siti Rukiah, Tandus (1952). The first female author to have published a novel in postcolonial Indonesia was Arti Purbani (Widyawati, 1948). Arti Purbani is the pen name of Raden Ayu Partini Djajadiningrat (1902–98), the wife of Hoesein Djajadiningrat (1886–1960). Southeast Asian Studies, Vol. 7, No. 1, April 2018, pp. 85–101 DOI: 10.20495/seas.7.1_85 85 ©Center for Southeast Asian Studies, Kyoto University 86 Y. WIRAWAN After the transfer of sovereignty in 1949, Rukiah continued her writing activity and involvement in politics throughout the 1950s and 1960s. She joined the leftist artist group Lembaga Kebudayaan Rakyat (LEKRA, League of People’s Culture) in the 1950s. Unfor- tunately, her bright talent and career were halted abruptly in 1965 amid the brutal purge of the Indonesian Communist Party (PKI, Partai Komunis Indonesia). She was detained and sent to prison without due process, and after her release in the late 1960s she lived the rest of her life in difficulty with six children. Although her name is mentioned in contemporary Indonesian literary textbooks, only a few young Indonesians are able to access her works.2) Rukiah’s writings and life have attracted a number of scholars of Indonesian litera- ture.3) Annabel Teh Gallop (1985) examines her literary works by focusing on their emo- tional and intellectual ideas. From her analysis, she concludes that Rukiah’s Kedjatuhan dan Hati (The fall and the heart) is, in fact, a representation of the author’s love affair and psychological conflict. Julia Shackford-Bradley (2000) offers a different reading on Rukiah. Based on textual and language analyses as well as interviews with Sidik Kertapati, she sees Rukiah as constructing herself on the ambivalent choices that she faced at the time of her writing. She concludes that the revolutionary figures in Rukiah’s works were Rukiah’s own inventions—in other words, fictional (Shackford-Bradley 2000, 254). Alicia Marie Lawrence (2012) compares Rukiah to Eden Robinson (an indigenous female writer from Canada) and finds that Rukiah’s writings were a product of the communication of her emotional experience, based on her submissiveness as an indigenous woman. She concludes that Kedjatuhan dan Hati represents the voice of a subaltern woman and that in current light, reading it may have some practical value for community organization and political decision making. Although these studies have different methods, they focus on Rukiah’s literary works as her personal achievement and reflection of inner conflict rather than a direct expression of the revolution that she experienced. They also analyze Rukiah in com- parison to other (female) literary figures: Shackford-Bradley compares Rukiah to Kartini, Hamidah, and Soewarsih Djojopoespito; Lawrence compares her to Robinson. This 2) On November 6, 1965, Duta Masjarakat, the newspaper of Nahdlatul Ulama, reported that although Tandus was republished by Balai Pustaka, its distribution was halted (See “Stop Naskah2 Lekra di Balai Pustaka,” Duta Masjarakat, November 6, 1965). Interestingly, her brief biography (including her involvement in LEKRA) appears in an online encyclopedia published by the Ministry of Educa- tion of Indonesia. See Ensiklopedi Sastra Indonesia, http://ensiklopedia.kemdikbud.go.id/sastra/ artikel/S_Rukiah, accessed April 20, 2016. 3) Some of her works are translated by John McGlynn. See S. Rukiah Kertapati (1983); Siti Rukiah (2011). In 2017 Ultimus, an independent publishing house in Bandung, republished Rukiah’s works: see Kejatuhan dan Hati (2017) and Tandus (2017). Independent Woman in Postcolonial Indonesia 87 comparative reading is useful to understand Rukiah’s creative inspiration and distinctive qualities as compared to other female authors. Understandably, Shackford-Bradley’s and Lawrence’s readings emphasize the literary values of Rukiah’s works rather than the historical trajectory of the socio-political conditions that allowed Rukiah to write. As such, they fail to consider Purwakarta (in West Java), her hometown, as an important locus that forms Rukiah’s consciousness and in turn informs her writings. This article intends to place Rukiah’s literary works as the historical documents of a young Indonesian woman during the revolution. It emphasizes Purwakarta and its surroundings as providing the context of Rukiah’s early writings: the novel Kedjatuhan dan Hati (1950) and her anthology of short stories Tandus (Desert) (1952). This article starts with a brief summary of Indonesian women writers and their movement during the colonial period. Following that, it discusses Purwakarta—where Rukiah once resided and produced a number of literary works—in the context of the Indonesian Revolution (1945–49). This is followed by a short biography of Rukiah and the historical context of her stories. In the last part, this article analyzes and (re-)interprets her texts on socio- political issues, especially on modernity. This article argues that although Rukiah’s literary works can be read as her individual achievement, they are also a result of the socio-political transformation that affected her hometown and her life. Female Authors during the Colonial Era During the colonial period native women had to suffer multiple forms of repression due to the colonial system and patriarchal tradition, while male figures dominated the media and political organizations. Nonetheless, they used writing as an important medium to channel their concerns and views on social issues that affected their lives. There were at least two prominent Indonesian women whose literary works were published and widely read during colonial times: Raden Adjeng Kartini and Soewarsih Djojopoespito. Interestingly, they came from different family backgrounds, and thus they can be con- sidered to represent the diversity of Indonesian female intellectual figures in the pre- independence period. Kartini was born to a noble family on April 21, 1879 in Rembang, Central Java. Due to her aristocratic background, she was able to attend Dutch elementary school, at least until the age of 12 years. During her adolescence, following Javanese tradition for noble young girls, she had to discontinue her studies and avoid social activities in order to prepare for marriage (pingit). During this time of seclusion, Kartini spent most of her time reading books and corresponding with a number of Dutch pen friends. Her letters 88 Y. WIRAWAN demonstrate her critical thinking on various issues (they were written in eloquent Dutch). Her primary concern was girls’ right to education and the local traditional practice of polygamy. At the age of 24 Kartini became the fourth wife of a nobleman, but unfortu- nately on September 17, 1904 she died at the age of 25 after giving birth to a son. Although Harsja Bachtiar regards Kartini’s seclusion as a consequence of her nobil- ity, her life represents the dilemma of standing as a modern woman versus living in line with tradition.4) In the beginning of the twentieth century in the Dutch Indies, education access for girls, underage marriage, and polygamy were certainly the main issues facing native women as reported in colonial surveys.5) Given such a situation, Kartini’s life (except her tragic death) represents the ideals of a native woman who was not only fluent in a European language and could express her thoughts and concerns but also an enlight- ened native. In order to push for social change in the colony, an edited collection of Kartini’s letters was published in 1911 (the Malay version was published in 1922) and became a best seller in colonial society. Royalties from her book were donated to estab- lish Kartini’s school in 1912. These efforts to increase education for girls were eventually supported by the colonial government, which adopted the ethical policy of girls’ education and attempted to modernize the colony. In the following period, the increasing number of educated women gave rise to the presence of women activists in the first decade of the twentieth century. The first native women’s organization was Putri Mardika (Free Daughter), founded in Batavia in 1912. This organization aimed to help women who wished to continue their education, to increase their self-confidence, and contribute to society.
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